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31 August, 2005

Marian Maguire's suite of etchings recasts the story of Ajax and Achilles from Homer's Iliad, in the New Zealand landscape. She reflects that Greek myths are part of the cultural 'baggage' European colonisers brought to this country. By imagining the scenes in our hills and by our lakesides she demonstrates the universal relevance of the story which is ultimately about friendship, loyalty, death, isolation and despair.

---------------------------------------------------------Essay by Dr Anna Smith from the catalogue 'The Odyssey of Captain Cook.

ODE ON A SOUTH SEAS URN: THE ART OF MARIAN MAGUIRE

Tiwhatiwha te po, Dark, dark is the poKo te Pakerewha, It is the PakerewhaKo Arikirangi tenei ra te haere nei. It is Arikirangi that is coming.

What do the Ancient Greeks have in common with the South Seas? A lot, if a certain master printmaker from Christchurch has anything to do with it. Artist Marian Maguire has been working on bringing the Greeks to New Zealand for a number of years now. Inspired by the designs of classical artefacts: urns, bowls and jugs, Maguire has reworked the meeting of English colonizers and Maori through the medium of classical shapes and figures. In this new show, the collision of three cultures, not two, takes the viewer by surprise. The Odyssey of Captain Cook takes radical liberties with the history of this country, for we discover that Pakeha and Maori have now been joined by chiefs from the heavens (Arikirangi): Achilles, Athena, and boatloads of Greek soldiers. Using the voyages of Captain Cook as the pretext, Maguire explores how a nation remembers and represents its history. By implication, she also explores what a nation leaves out when it remembers; and how its vision is always skewed in favour of one race or the other. Every time we seek to understand these engravings and lithographs as the story of two nations, or two races, the artist presents a third perspective: a sleight of hand which, in a climate that favours biculturalism, makes for troubled viewing indeed.continues

-All media exhibition in October and November.- $5 entry fee for small work up to 12 inches longest side- $10 entry fee for work up to 24 inches longest side- $15 entry fee for work up to 36 inches longest side.

Work larger than 36" longest side will require approval by staff.Artists will get 50% comission on Sales.We especially encourage 3-D work.

Work accepted Sat. October 1 and Sunday, Oct 2.Work must fit the theme of a day celebrating the connection between theliving and the dead. No Horror or Halloween Themed work.

We are Australian Importers and Wholesalers of pressed woolen felt. (Nopressed woolen felt is made in Australia)

We have supplied felt sheet cut to size for both etching pressed and alsofor paper making presses for many years but have never really advertised thefact. Because we are the importers our pricing structure reflects this and weusually offer felt at far cheaper prices than from re-sellers.

If you could add us to your suppliers list It would be most kind andappreciated.

16 August, 2005

Croquis Publishing House invites world’s printmakers, majority age, toparticipate of International Print Exhibition of Croquis Publishing House –2005. The exhibitions will take place at Casal de Catalunya- Chacabuco 863-Buenos Aires-Argentina.

Entry Requirements:

1- Size of paper shall not exceed A4 paper. The theme and technique arefree.2- Each artist shall submit until 3 works. The works shall be preliminarysubmitted to a jury for admission in the contest and exhibition3- The exhibition shall have place between September 1to 14, 2005.Finished the exhibition, the artists living at foreign countries will becontact the Croquis to ask about return of works.4- Entry fee: the artists will pay 20 dollars to one work and 30 dollars totwo or three works. Entry fee should send by Western Unión or other similarway. The entry fee is non-refundable.5- The Judging Panel will be composed by Mr. Martín Gil, Mrs. Rosa Faccaro eMr. Osvaldo Mastromauro. The Judging panel can be change if necessarywithout previous communication to artists.6- Awards:1º, 2º e 3º Print’s awards – Certificate and note inside Croquis magazine.Honors mentions – The jury reserve the right to give them.Certificate to all artists.7- Works should be send by mail to the following address so that they arriveafter July 15 and no later than August 26, 2005:Adddress: Editorial CroquisCastelli 941 Dto.4Ramos Mejía (1704)Buenos Aires –ArgentinaWorks must be sent together with entry form fully completed in blockletters.Works must be sent by registers mail, without frames, and as “printedMatter, bearing the declaration “No Commercial Value.All insurance costs and shipping expenses incurred during delivery and toreturn to artists will be at his/her expense.The organizers shall not be responsible for any unforeseen loss, theft ordamage incurred during the travel or handling..8- The artists living at Argentina must be send his/hers works to:El Casal de Catalunya, Chacabuco 863They must arrive between august 29 and 30, 15:00 to 18:oo pm.9- The organizers retains the right to change what will be necessary to bebetter as possible.The artist who participate shall accept all the conditions of the rules ofthe International Print Exhibition of Croquis Publishing House – 2005. Theartist have sent the works constitutes the acceptance of the conditionsstipulated in the present rules.

from the university of chester (posted by Asbjørn Hollerud )--------------------------------------statement

Friedhard Kiekeben’s works take form as digital wall drawings, etched metal sculptures, and series of prints. Information and transformation, as well as simulated versus real space are key issues of his abstract art. The work, which is shown internationally, raises fundamental questions of human perception, and it emphasises information as the new paradigm of a contemporary aesthetic.

After the metaphysic of being and appearance, after that of energy and determination, comes that of indeterminacy and the code.…Today, when the real and the imaginary are confused in the same operational totality, the aesthetic fascination is everywhere.

Jean Baudrillard: ‘Simulations’

Friedhard Kiekeben has taken a lead role in the development of non-toxic printmaking. This scientific investigation is manifested in the invention and development of a range of metal salt and acrylic resist etching processes. The new process-based research findings are disseminated and implemented internationally.

-------------------------------Glover has long been regarded as ‘the father of Australian landscape painting’. He was the only major European artist to migrate to Australia before the gold rushes of the 1850s and is without doubt the most important Australian landscape painter of the early colonial period.-----------------------------------also in the louvre

Until 1823, the Colony of New South Wales was a penal colony; there were just convicts, marines and the wives of the marines. However, in 1823, the New South Wales Act 1823 (UK) authorised the establishment of a Legislative Council and Supreme Court in New South Wales, and also established that Van Diemen's Land (Tasmania) become a separate Colony. This Act is now seen as a first step towards a 'responsible' Parliament in Australia.

In spite of the problems the colony grew, and the Port Jackson settlement is now the site of Australia's largest city - Sydney. The name 'Australia' was first suggested by Matthew Flinders and supported by Governor Macquarie (1810-1821). At a meeting in 1899, the Premiers of the other Colonies agreed to locate the new federal capital of Australia in New South Wales, and added this section to the Australian Constitution. In 1909, the State of New South Wales surrended a portion of this territory to the Commonwealth of Australia, the site of present day Canberra.more link

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some statistics

While the penal aspect of transportation cannot be ignored, it should not be viewed as the only driving force behind Britain's transportation policies. Convict labour was used to help found a number of British colonies including Barbados, Jamaica, Maryland, Virginia and Singapore. Between 1607 and 1939 Britain transported approximately 400,000 people to all parts of the globe, 162,000 of which came to Australia.

When the last shipment of convicts disembarked in Western Australia in 1868 (see below), the total number of transported convicts stood at around 162,000 men and women. They were transported here on 806 ships.

While the vast majority of the convicts to Australia were English (70%), Irish (24%), or Scottish (5%), the convict population, mirroring the nation it was to help build, had a distinct multicultural flavour.

There were also Maoris, Chinese from Hong Kong and slaves from the Caribbean. Australia's first bushranger - John Caesar - sentenced at Maidstone, Kent in 1785 was born in the West Indies.

Michel HOSSZÙ, who is part French and Hungarian, lives in Paris, he was born in 1949.

After his studies at the Ecole Estienne (1961-64), he moves to New-York (64-66) where he becomes a photographer and a Pop Art supporter / loyalist. Back in Paris, he pursues his experimentations with photographies, using montage, collage &screenprinting.

He finds his style, and from now on applies techniques of fragmentation, multiplication and juxtaposition to portraiture.

In 1979, he adheres to Mail Art, to become one of its staunchest French supporter (in 1992, he puts up a solo exhibition at the Musée de la Poste).

Years pass by, that see him focus more and more on the stamp idea, an object for him both "multiple" and rare, synonymous with world-wide communication : it becomes his favorite means of expression.

In February of 1987, Andy Warhol's untimely death prompts him to create, as an homage, the first " world-wide " stamp, with neither price, nor country of origin, featuring the face of the man he had met in New-York in 1964. The Museum of modern Art acknowledges this stamp in their catalogue raisonne as a legitimate artistic enterprise.

Today besides his own work, Michel HOSSZÙ creates, publishes, & co-produces artist's stamps for artists, for galleries, museums or companies from around the world looking for an original & innovating communication platform.link

The By the People, For the People: Posters from the WPA, 1936-1943 collection consists of 908 boldly colored and graphically diverse original posters produced from 1936 to 1943 as part of Franklin Delano Roosevelt's New Deal. Of the 2,000 WPA posters known to exist, the Library of Congress's collection of more than 900 is the largest. These striking silkscreen, lithograph, and woodcut posters were designed to publicize health and safety programs; cultural programs including art exhibitions, theatrical, and musical performances; travel and tourism; educational programs; and community activities in seventeen states and the District of Columbia. The posters were made possible by one of the first U.S. Government programs to support the arts and were added to the Library's holdings in the 1940s.link

The Jewish Museum is pleased to present Joan Snyder: A Painting Survey, 1969-2005, an exhibition that features a selection of thirty-one major works representing more than three decades of the artist�s career. Joan Snyder is an avowed feminist and belongs to the first generation of women artists to identify themselves as such. Along with Elizabeth Murray, Mary Heilman, and Miriam Schapiro, Snyder strove to tame the heroic gestures of male-dominated Abstract Expressionism into a new intimate painterly language. The paintings on view range from monumental (some as large as six by twelve feet) to modest in scale. They take the viewer by surprise as the artist skillfully invests the large canvases with an intensely personal sensibility and the smaller ones with astonishing grandeur.image gallery

Cressida Campbell was born in Sydney in 1960. After her initial training at the East Sydney Technical College she discovered an affinity with the medium of woodblock printing, however, was frustrated by the restrictions of the medium. In 1980 Campbell decided to extend her studies abroad at the Yoshida Hanga Academy, Tokyo, Japan which gave her the skills to manipulate the medium and develop a new technique. Her current practise of mono-printing hand painted wood-blocks, allows her the freedom of painting but the work has the nature of a hand printed surface.

An astute observer, Campbell captures the patterns and details from small still lives, intimate interiors to sweeping landscape panoramas. The works produced are unmistakeable in their unique quality.

A full-size replica of a four-wheel-drive truck made out of grass has won this year's National Aboriginal and Islander Art Award, the most prestigious Indigenous art award in Australia. The work, entitled Tjanpi Grass Toyota, was awarded the $40,000 first prize in Darwin today. The work was a collaboration by a group of women from Western Australia, who call themselves the Blackstone Tjanpi Weavers.

Awards judge Destiny Deacon says the piece stood out because it was art you could smell. "I know it's to do with bloody Toyota and stuff and the brand name, but it's a fact of life in the bush and it's so important for travel, to get somewhere and they usually break down," she said."[This is] a vehicle that can't move either, but it's something you look at which is what it's like... in the bush."It is the first time the prize has been awarded for a collaborative effort.

Speaking through a translator, community elder Kantjupayi Benson says the group worked very hard to finish the sculpture in three weeks. "We worked all the way through the week and sometimes we stopped on Sunday for a short while, but we worked all the way through and stopped on Friday."

The opening night of the Telstra National Aboriginal & Torres Strait Islander Art Award is a major dry season event in Darwin and attracts visitors and artists from all over the country. The evening provides free entertainment from Indigenous traditional and contemporary performers in a classic tropical sunset beachside setting on the lawns in the MAGNT grounds. The event, at which winners are announced and prizes presented, is free and includes entrance to the exhibition. All are invited to BYO food and drink.

The 2005 exhibition features 119 works in a wide range of themes, styles and media including paintings on bark, canvas and paper, prints, sculpture, fibre art, ceramics, glass, photography, digital media and video.--------------------------------------------------more about tjanpi

Tjanpi (pronounced 'J-um-Py') is the Aboriginal women's basket weaving project and enterprise which started in the Central Western Desert region of Australia. Although basket weaving is relatively new to the Central Desert people, Anangu women have always made several items from fibres; hair belts, head bands, shoes from bark and feathers, and hair string skirts or face coverings for modesty and ceremonial purposes.

--------------------------------------------------------------------moreTjanpi began in 1995 as a result of a basket-weaving workshop at Papulankutja (Blackstone) community in WA that was initiated by the Ngaanyatjarra Pitjantjatjara Yankunytjatjara (NPY) Women's Council. Ngaanyatjarra women then taught their new skills to women in nearby Pitjantjatjara, Pintubi, Yankunytjatjara and Luritja communities in the cross-border region of South Australia, Western Australia and the NorthernTerritory.

Building upon Anangu (Aboriginal) traditions of utilizing natural fibres to create objects for ceremonial, medicinal and modesty purposes, the artistic development of the weavers has evolved over the past nine years, inspiring new forms and decorative techniques. Tjanpi currently represents over 200 weavers who have developed an extensive range of styles, including life size figures, ‘flat’ animals and sculptured objects such as aeroplanes.

This is Tjanpi’s first dedicated exhibition and is a significant achievement for the weavers. The show includes fibre sculptures, ‘flat’ animals and exquisite baskets produced by women across the NPY Lands. As a collection, they create a striking snapshot of the desert community.

10 August, 2005

"The eye can travel over the surface in a way parallel to the way it moves over nature. It should feel caressed and soothed, experience frictions and ruptures, glide and drift…One moment there will be nothing to look at and the next second the canvas seems to refill, to be crowded with visual events." said British artist Bridget Riley of her paintings. Riley is the foremost contemporary practitioner of the op art movement pioneered by artists such as Victor Vasarely in the 1950s.

Riley's description of her work, could as easily apply to those by the nine central Australian desert artists whose work features in this exhibition. With their finely wrought lines, circles and juxtaposed colours, these paintings shimmer with the kind of vibrant illusion which characterise the best of Western op art.

Entering the gallery space to view 'Looking for Rover', the spectator is confronted by a visual field of brown; but rest assured that this is far from a 'beige' exhibition. Composed from textured fibres in rich earthy tones from tawny brown to sepia, and covering the walls, are two major works - an imposing construction titled Looking for Rover and a suite of individual artworks under the heading of The Last Sins of St Francis: Scarring the Flesh. Weaving his ropes with the dexterity and passion of a painter wielding his brush, artist Dani Marti creates sensuous textile-based works that also operate as abstract sculptural reliefs.

09 August, 2005

This was reported to have been designed by a Canadian named Ross, for the diggers to use at the time of the stockade at Eureka. It was a most colourful emblem, with its blue background, surmounted by a white cross w ith a star at each point and in the centre.

On Australia Day 26th January 1988, in the year of the Australian Bi-Centenary an alternative exhibition of Poster Art was launched in South Australia. The predominant use of fluorescent colour or the red, black and yellow derived from the Aboriginal flag, was combined with provocative and sometimes witty annotations or cartoon style imagery.

The impact of a poster art exhibition that focussed on indigenous Australia and was in opposition to other celebrations also maintains its significance. It provided the opportunity to reflect upon and to evaluate the worth of poster collectives to the role of debate in the public realm.

Political clout: Australian posters (extract) Screenprints gave both activists and artists a means of direct expressionImages of dissent have flourished in Australia since the first years of European occupation: scrawled graffiti by convicts in Sydney, satirical wood engravings and etchings in nineteenth-century magazines and trade union banners – all highly public expressions of solidarity. While the twentieth century was the age of the printed image, those with alternative ideologies have not usually had access to advanced forms of printing technology. Instead, they have had to use other means, and screenprinting was one of the most effective. The equipment was easily manufactured, and large numbers of colour posters could be printed relatively cheaply. Screenprinting was practised commercially in Australia from the 1930s, but it was not until the late 1960s that artists capitalised on its potential as a political tool. By the 1970s, screenprinting was being taught in printmaking departments in art schools around Australia.

Many groups involved in the campaigns against the war in Vietnam began to produce posters. Chips Mackinolty, who would become a key figure in the radical poster movement, recalls his introduction to screenprinting at a centre known as ‘Resistance’ in Goulburn Street, Sydney. ‘There was a room out back, perhaps 15 by 30 feet, where there was a screenprinting workshop . . . the meeting room was covered, late 1968, early 1969, with a multitude of posters that had been produced out of the Vietnam Action Committee and screw (The Society for Cultivating Revolution Everywhere)!’

During the 1970s, political poster groups and alternative print workshops formed in many Australian cities. Screenprints were a way of making art and expression available to the whole community. ‘So long as art, in any of its forms, limits itself to the domain and interests of any one section of society, it will assist in the maintenance of social and economic divisions of that society,’ writes Toni Robertson. She worked with Earthworks (see overleaf), the most widely known and influential poster group, which operated from the ‘The Tin Sheds’, a cluster of World War ii prefabs at the University of Sydney.

Feminists were active in poster groups: Matilda Graphics, Women’s Domestic Needlework Group, Harridan Screenprinters and Lucifoil Postersin Sydney; Bloody Good Graphics and Jill Posters in Melbourne. The Anarchist Feminist Poster Collective was an Adelaide group. Among other Melbourne groups were Permanent Red, Breadline and Cockatoo; the Poster Workshop was basedat Monash University, while the Wonderful Art Nuances Club worked from the Gippsland Institute of Technology.

By the end of the 1980s, teams such as Redback Graphix (see pages 44 and 45) were broadening their scope and diversifying their activities. The escalating costs and health risks of screenprinting and the arrival of desktop technology meant that it was no longer central. Many artists who were involved with the poster collectives moved into graphic design and few of the workshops survive. Green Ant Research and Arts and Publishing, in Darwin, is one of the exceptions. Its founder, Chips Mackinolty, continues to produce posters of power and conviction.

A Festival of Contemporary Japanese Printmaking Art was opened in Sofia. The exhibition includes the presentation of seven contemporary Japanese artists and comes under the Contemporary Art Prints From Japan and Bulgaria project which started in 2001 with the first exhibition in Sofia and was followed by exhibitions in Kyoto Museum for Modern Art and Tokyo Metropolitan Museum.

The Japanese artists have all worked seeking new expressions through the techniques of print. They belong to the Japan Print Association, which has held a public print exhibition annually each spring in Japan. Each of them has created the works being conscious of the strong possibilities of the graphic art techniques.

The National Foreign Art Gallery is hosting a unique meeting of Bulgarian and Japanese art in an exhibition of Contemporary Art Prints from Japan and Bulgaria. From November 5 to 30, the halls of the gallery in Alexander Nevski Square, at 1, 19 February Street, will show to art admirers the best of the graphic art of both countries.

The works of 30 artists from Japan and Bulgaria will be on display showing the best examples of graphic art created over the past few years. Bulgarian participants include artists who have gained fame over the past 20 or even 30 years, such as Rumen Scorchev, Nikolai Maystorov, Ivan Ninov and Milko Bozhkov. Their Japanese counterparts include renowned artists such as Tadayoshi Nakabayashi, Seiko Kawachi, Tetsuya Noda, as well as artists from the younger generation such as Rika Saito, Yuka Oshita and Chiaki Shuji.

The exhibition is organized by the Lessedra Gallery together with the Japanese Embassy in Bulgaria, the Japan Foundation and the Union of Bulgarian Artists under the patronage of the Ministry of Culture.

The idea for the joint exhibition first came last spring during the visit to Bulgaria of Akira Kurosaki, a professor at the department of printmaking and papermaking with the Kyoto Seika University, said Georgi Kolev, owner of the private Bulgarian gallery Lessedra. The gallery was chosen by the Japanese participants to be the main organizer of the event.article continues from the sofia echo-----------------------------Contemporary Bulgarian Art Prints presented in Kyoto Municipal Museum of Art September 30th - October 13th 2003 in Tokushima Modern Art MuseumNovember 8th - November 13th 2003http://www.lessedra.com/japan_project/japan_part_artists-1.htmhttp://www.lessedra.com/tags

07 August, 2005

Applications are now open for the 2006 round of Asialink’s Arts Residency Program. Residencies provide an opportunity for Australian arts practitioners to spend up to four months living and working in an Asian country.

Asialink Residencies offer the challenges and rewards of in-depth cultural exchange only possible through an extended stay in-country. The Asialink Residency program provides a grant of up to $12,000 towards travel, living and project expenses and provides a network of initial contacts in the host country. The program aims to expand the experiences available to Australians in Asia, to develop projects related to the host country and to encourage on-going involvement between Australian and Asian writers, artists and organisations.

Residencies are offered in: Arts Management, Literature, Performing Arts and Visual Arts/Craft. Up to 40 residencies will be offered nationally in 2006.

Residencies have taken place in such countries as Bhutan, Cambodia, China,East Timor, India, Indonesia, Japan, Korea, Malaysia, The Philippines,Singapore, Sri Lanka, Taiwan, Thailand and Vietnam. The Asialink ResidencyProgram is supported by Arts Victoria.

Print Australia member Julianna Joos is represented in this exhibition on page 4.---------------------Last year I posted two Calls the Erosions and Renaissance Show for the Act 1 in Dakar (May 2004) and after for the Act 2 in Ballarat (Victoria-Australia). Now see below, there is the new Call for Act 3 inRome. I really hope that also this time many of you will participate as in the past. More info on www.plexusforum.netgallery of prints

The Voyage of the Ark of the Well Being will continue from "EATING ART",3rd Act of the international travelling event "EROSIONS AND RENAISSANCE SHOW". It will staged from 29/9 - 1/10. 2005, at the atrium of the Rectorate Hall of the University of Rome "La Sapienza", as an virtual exposition within the international event "2005 Year of the Mediterranean". It will be closed on the night of Saturday 1 Oct., at the National Academy of Dance of Rome, as a physical exibition choreo event performance.

stonecutting demonstrationHarry Egotak demonstrates the creation of a stonecut print as he recounts his first experiences with trapping and trading in Holman. (The dialogue is difficult to hear).The History of Printmaking in Holmanhttp://www.virtualmuseum.ca/Exhibitions/Holman/english/art-making/index.php3gallery of prints

-----------------------------------------The Inuit are also famous for their works of graphic art. The first series of limited edition graphics was put out by the artists of Cape Dorset in 1959. Other communities began to follow soon after, and now the communities of Pangnirtung, Povurnituq, Baker Lake and Holman Island are also well known for their prints.

Inuit prints are produced in a variety of media with the most common being either lithographs or stonecuts. Stonecuts are quite unique to the Inuit in that the standard lithographic stone is carved out into a bas relief image of the design to be printed. Often the stonecuts are augmented with stencils to apply subtle colours to the prints. In fact it is not uncommon for two prints of the same image to be subtly different in that this is still a very much a "hands on" process as opposed to some of the mass produced graphics that are common today.http://www.elcalondon.com/about_inuit_art.asphttp://www.elcalondon.com/dynamic/inuit_prints.asptags

06 August, 2005

WE-BRASIL is a group of Brazilian artists working and living in The Netherlands, each artist with his or her own particular style. Some of these artists have made successful careers, having exhibited their work many times, being featured in important publications and winning art prizes and accolades but not one of them has worked together before.

Instead of confining myself to the dissection of the historic content of each work -- if they belong to this or that stream of Visual Poetry, or not, and leaving that to the competency and scrutiny of art historians – I decided to embrace the broader scope of Brazilian visual poetry. I decided to invite not just the poets whose art originated in Concrete poetry or Process poetry (the two main branches of Brazilian visual poetry) but also to mix into this celebration of my mother lingua artists/poets from all tendencies of Brazilian visual poetry -- from the inventors and masters, to the neophytes. Welcoming also those situated at the margins, such as Millôr Fernades and Hélio Oiticica, whose works many scholars may not take as Visual Poetry, or even poetic at all, but to which I reserve the right to have my own opinion.

05 August, 2005

In March1606 Willem Janszoon, on board the Duyfken, charted about 300 km of the west coast of Cape York Peninsula in Queensland. He is the first authenticated discoverer of Australia. From that time many seafarers made contact with the Australian coast including Torres, Hartog, Pelsaert, DAmpier and Cook.

From the landing of the first fleet in 1788, the "new" inhabitants of Australia were desperate to know what lay beyond the mountains which rose about 50 kilometres inland from the coast and which formed a seeminly impenetrable barrier to exploration of the continent. Gradually the map of the inland of the continent was drawn, first with the discovery, by Blaxland Lawson and Wentworth, of a way across the Blue Mountains, and then by men such as Sturt, Oxley, Eyre, Stuart, Giles, Leichhardt, and Burke and Wills. The outline of the continent was mapped by navigators including Cook, Flinders, King and Stokes.

We have here at Project Gutenberg of Australia, in ebook form, one of the most comprehensive collections in the world of the journals of Australian explorers. Furthermore, the 'HTML' versions contain the illustrations which were included in the original publications. Click on the explorer's name to see an image of the explorer, biographical information, and a sketch map of the routes travelled.

http://gutenberg.net.au/explorers-journals.html-------------------------------------------------------Bligh's account of the Mutiny on the BountyJust before sun-rising, while I was yet asleep, Mr. Christian, with the master at arms, gunner's mate, and Thomas Burkitt, seaman, came into my cabin, and seizing me tied my hands with a cord behind my back, threatening me with instant death if I spoke or made the least noise: I however called as loud as I could in hopes of assistance; but they had already secured the officers who were not of their party by placing sentinels at their doors. There were three men at my cabin door besides the four within; Christian had only a cutlass in his hand, the others had muskets and bayonets. I was hauled out of bed and forced on deck in my shirt, suffering great pain from the tightness which with they had tied my hands. I demanded the reason of such violence but received no other answer than abuse for not holding my tongue. The master, the gunner, the surgeon, Mr. Elphinstone, master's mate, and Nelson, were kept confined below; and the fore hatchway was guarded by sentinels.

04 August, 2005

It was announced at the Art Gallery of New South Wales today that KEVIN CONNOR is the winner of the 2005 Dobell Prize for Drawing for his drawing, Le Grand Palais, Clémenceau, de Gaulle and me.

Kevin Connor was awarded $20,000 for winning this prestigious prize, and his work was automatically acquired for the Art Gallery of New South Wales’ permanent collection. There were 576 entries this year and the prize was judged by artist, writer and curator, Elizabeth Cross.

Kevin Connor is a distinguished painter and draughtsman of expressive urban landscapes, figure compositions and portraits, with works in all major public and many private collections in Australia. Born in 1932, he has travelled extensively in Europe, America and the Middle East since the mid 1950s. He first exhibited in 1951 and his first solo show was in Melbourne in 1962. He is the recipient of a Harkness Fellowship (New York 1966-68), and the winner of numerous prizes including the Archibald Prize (1975 and 1977), the Sulman Prize (1992, 1997) and the Dobell Prize in 1993. He taught at the National Art School and Alexander Mackie College, Sydney. In 1989 the AGNSW staged a survey exhibition Kevin Connor, paintings and drawings 1947-88.

Kevin Connor says "I could live without painting and making sculptures but I just could not live without drawing. When you are up against a brick wall, or in doubt, draw!"

The Dobell Prize for Drawing was initiated by the trustees of the Sir William Dobell Art Foundation and was first awarded in 1993.

The 2005 Dobell Prize for Drawing is on view 5 August - 16 October 2005.from the AGNSWtags

This is an open call for contributing material to a project intended for a group show in Stenersenmuseet, Oslo, Norway, curated by Henry Meyric Hughes. The show is scheduled to open in February, 2005.

I have been invited as a participating artist for the show "BoundLess", which has a theme based on the idea of artists travelling, creating networks of affiliated people and the notion that creativity is relative and subject to your meetings and subsequent inspirations.

I would like to open this up further by inviting ANYBODY to submit material such as text or images - or both - which will fit on a sheet of A4 in black and white. It could be a text, an article, a drawing, a note, a photograph or whatever. Your material will be included in the show as a reproduction, without any restrictions or censorship, and I will furthermore make an effort to reproduce selected images and illustrations (blown up as posters or painted up as some sort of background decoration), as a backdrop to the show. I will even try to execute any instructions you supply, to the best of my ability. There is no limit to the number of pieces you submit, but please note that each work of art should be limited to a single sheet of paper.

From the Green Box to Typo/Topography: Duchamp and Hamilton's dialogue in print.by PAUL THIRKELLAlthough Duchamp is seldom cited as a printmaker, aspects of his work continue to hold resonance for contemporary print and photographic practice. In terms of print theory Duchamp’s astute use of printing techniques to convey the degree of information sought from an image precede the theories about print syntax put forward by Ivings in the 1950s and extended by Crawford and Jussims in the 1970s by at least a decade.19Duchamp’s questioning of the notion of originality has also had a profound influence on modern print, ultimately triggering the revolution in print expression exemplified by photomechanically driven vehicle of Pop Art. Although Duchamp’s influence has extended to a wide range of contemporary artists, in many ways few have pursued the visionary implications of Duchamp’s work as keenly as Richard Hamilton.

Through his research and artwork, Hamilton has followed Duchamp’s shrewdly devised clues, transmuting them from media to media and syntax to syntax inducing new degrees of perception and meaning. Unlike many print-based artists, Hamilton has exploited the value of combining different print media to extract and convey ideas rather than simply honing skills in a single medium. While in previous decades Hamilton employed highly skilled printers from both the fine art and industrial sectors to assist in transferring images in this way, the expansive capabilities of computer technology have now more than adequately fulfilled this possibility. Through virtual simulation, a myriad of print languages lie at the artists fingertips. The photographic detail and resolution previously accessed by both Duchamp and Hamilton through collotype can now be captured and manipulated digitally with the spontaneity of a painter to produce prints which exceed well beyond the previous languages of print.-----------------------extracts from here Tate Papers

This paper examines Marcel Duchamp's use of the collotype printing process for publishing the contents of his Green Box and Boîte-en-valise in the 1930s. It subsequently traces the linguistic and graphic interpretations of this work by the British artist Richard Hamilton in his 1960 The Green Book and in his recent fusion of this work with the 'topography' of the Large Glass in the print Typo/Topography, published in 2003.

A scandal has broken out at the Moscow Biennale of Contemporary Art, as a group of Christian activists have lodged a suit with the Moscow Prosecutor’s Office against the organizers of a display that allegedly incites religious hatred, a crime punishable under Article 282 of the Russian Penal Code. According to the plaintiffs, the exhibits particularly offensive to the Christian faith include a video showing an effigy of Christ against a series of commercials and a performance involving the recital of sacrilegious poems, with a Crucifixion painting (The Sun of Truth, Love, and Grace) used as the backdrop. When speaking to the press, Marat Gelman, an established Moscow gallery owner and the curator of the highly charged exhibition, denied any impropriety, describing the show as «absolutely tolerant.» «There are no grounds whatsoever for opening a criminal case. But should such a case be initiated, I’m sure we’ll win it in court,» Gelman said. .... Artists breaking taboos hardly make any headlines in Paris or New York these days, whereas in Russia, any controversial arts event may create a scandal, bringing its organizer to the attention of the judiciary as well as the media. In 1991, Russian designer Anatoly Osmolovsky and associates from the ETI group used their own bodies as letters to «write» an obscene word on Red Square, right across Lenin’s Mausoleum. Three years later, artist Alexander Brener staged an act of public defecation in front of a Van Gogh painting in Moscow’s Pushkin Art Museum. He entitled his performance «Plagiarism.» In 1995, another Russian artist, Oleg Kulik, distinguished himself as a dog impersonator. Standing naked on all fours in an exhibition hall of Zurich’s Kunsthaus, he attacked and bit onlookers. That same year, a Moscow gallery, Regina, staged the public slaughter of a piglet. The poor animal was cut up, packaged, and distributed among the visitors. The act was called «A Piglet’s Treats.» More controversial still was a performance in Moscow’s Dar gallery, where visitors were offered to partake of a cake representing the embalmed body of Vladimir Lenin. The life-size figure of Lenin was cut into slices, and the visitors ate it up before television cameras. All those art events were far from low-key, but none proved scandalous enough to arouse public outrage their authors had wanted. The emerging post-Soviet society just did not know how to respond to such previously unheard-of violations of long-standing taboos.--------------from: Kitsch a la Russe: from public defecation to sacrilege // Anatoly Korolyov, RIA Novosti 02 February 2005 more readings on the moscow biennale--------------------------------------------------------More seriously, the Russian State University for the Humanities has organized a series of exhibitions of works by underground Soviet artists who worked outside the confines of officially accepted art in the 1950’s, 60’s and 70’s. Because their works could not be exhibited publicly, the artists showed them in their apartments and studios.--------------------------------------------------------you've got to admire a biennale whose venues include people's apartments(viewing by appointment)but moscow in february! no thanks

Universes in Universe - Worlds of Art is an information system for the visual arts from Africa, Asia, and Latin America in the context of international art processes. The selection of artists and countries, which we include in our report on the 51st Venice Biennial, is based on this focus as well. photo tour of the biennial------------------------As a kind of online magazine published four times a year since March 2003, we present new issues with articles, information, and pictures concerning contemporary visual arts with essential sources or references in the Islamic world, a term meant here in its cultural sense. As a precaution against misunderstandings, we find it necessary to underline that the concern of our publication is not "Islamic" art - however this may be defined. Our aim is to show the diversity of artistic expressions and individual positions of artists who live in Islam-influenced countries or regions, or consider their cultural home to be in such places but live elsewhere.contemporary art from the islamic world----------------------------exhibition tourshomepage

Prague Biennale Foundation is proud to present the second edition of the Prague Biennale, curated by Giancarlo Politi and Helena Kontova, following the enormous success of the first Biennale. Prague Biennale 2 will take place in a vast post-industrial space that has been specifically adapted for what will be the largest exhibition in Europe dedicated to today's painting, demonstrating the crossing of styles, techniques, cultures and traditions in contemporary art. PRAGUE BIENNALE 2 will focus on two main themes: Expanded Painting - Painting and Around, and Acción Directa, art as political action.

02 August, 2005

Ngapartji Ngapartji - I give you something, you give me something - is a long term multi-layered language based arts project.

Ngapartji Ngapartji draws on the language and international experiences of the Central Australian desert people (Spinifex) for a unique Festival experience. Audiences are invited to learn elements of Pitjantjatjara language to have a deeper experience of the theatrical production. The performance weaves together narratives from the Spinifex People - one of the oldest nations on earth, with continuous ties to their land for 50000 years – with other young and powerful nations from the twentieth century.